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Topic: Death Cab for Cutie
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November 8, 2013 at 11:34 AM
For indie-rockers in their late 20s and early 30s, it may feel a bit soon for 2000s nostalgia. Yet Thursday’s sold-out Showbox show — the first of a weekend-long, multi-venue festival celebrating Barsuk Records’ 15th anniversary — offered a couple surprises. One — much of this music still holds up. Two — local heroes Death Cab For Cutie played an unannounced acoustic set.
Barsuk didn’t only get in on the ground floor for Seattle’s post-grunge sea change — it was the ground floor. Initially a vehicle to release Death Cab’s early records, the label is now an influential source for sensitive, songwriter-oriented sounds from the Northwest and beyond.
And in the case of at least one group, redeemers. (more…)
November 1, 2013 at 10:49 AM
“We’re not a household name, absolutely not,” says Barsuk Records co-founder Josh Rosenfeld, sitting in the woody, light-suffused conference room of the label’s Interbay offices. “We’re not a household name in the neighborhood I live in.”
That smart aleck tag is typical of Rosenfeld’s capricious self-deprecation, a signal of modesty but also pride in having kept afloat for 15 years a Seattle indie rock label named after a dog — a milestone the label celebrates this week with five nights of concerts.
Indeed, though Barsuk has delivered nearly 150 releases since 1998, among them Death Cab For Cutie’s 750,000-selling “Transatlanticism,” Barsuk has always operated in the shadow of its grungier big brother, Sub Pop. (more…)
August 30, 2013 at 9:42 AM
By Hannah Leone
“Transatlanticism” has pretty cool parents, so it’s no surprise candle that its 10th birthday party is a series of concerts during which they play the album in its entirety.
Pacific Northwest indie-rock bigs Death Cab for Cutie, conceived at Bellingham’s Western Washington University in 1997, will play the 11-track record on the Bumbershoot Mainstage Sunday. The band’s fourth album, “Transatlanticism” is perhaps its mellowest and moodiest, revolving around the struggles of a long-distance relationship. With impeccably detailed and situationally-specific lyrics, it’s a true testament to Ben Gibbard’s songwriting prowess.
Each number emanates a relatable nostalgia. The first words on the album are, “So this is the new year. And I don’t feel any different.” The last: “This is fact not fiction. For the first time in years.” “Transatlanticisim” — which deserves to be listened to all at once, in order and experienced live — is sure to take fans on a musical journey through moments and relationships past.
Death Cab for Cutie plays “Transatlanticism” at 9:45 p.m. Sunday at the Bumbershoot Mainstage.
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